FOUR No composer since Wagner’s time has been the subject of more discussion than Richard Strauss. He has been called the champion of the “forward movement.” Strauss came by his musical instincts naturally: he was the son of a horn player. His birth occurred in 1864, and he showed himself a prodigy from an early age. He played the piano proficiently at four years, and produced a number of compositions when only six. He followed his musical studies with avidity and at the same time was attending public school. In 1885 he began to study music regularly under the tuition of the eminent pianist and conductor, Hans von Bülow (bue´-low), whom he succeeded later as head of the Meiningen orchestra. It was Alexander Ritter that set Richard Strauss on the path of advanced music. Strauss resigned his conductorship after a few months, and in 1885 went to Italy. Before the year was over he was appointed third chapel master in Munich. Four years after that he took the position of director at Weimar. He held this post, however, for only a brief time; for in 1894 he married Pauline de Ahna, an eminent singer, who has accompanied him in concerts and has rendered great service to him by her interpretations of his songs. For two years Strauss and his wife made tours throughout Europe. They came to the United States, where he gave concerts made up of his own compositions. In song and in opera composition he is regarded by some as a high priest of future art, and by others as merely a shock to the nerves. The productions of his new operas have usually been the occasions of sensational interest. “Salomé” and “Elektra” both created a loud stir in the musical world. Many resent the bold and radical spirit of Richard Strauss. Perhaps we are all too near him. His enemies, or rather his severest critics, would say that anywhere within hearing of his operas would be too near. Many music students, however, find much to interest them in his work, and declare that Richard Strauss will come into his own in future years. His operas, for other reasons than their music, are not likely to be set in the regular repertoire of an opera season. His songs and tone poems, however, are already an accepted part of concert programs. In richness of orchestration, tremendous climaxes, vivid flashes of color, and frequent outbursts of dramatic power, there is nothing in modern music to place beside the tone poems of Richard Strauss. PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 1, No. 47 COPYRIGHT, 1914, BY THE MENTOR ASSOCIATION, INC. [Illustration: CHARLES FRANCOIS GOUNOD] _MAKERS OF MODERN OPERA_ _Charles François Gounod_ FIVE